“… De Leeuw’s version of the work for the most part follows the broad outlines of the Riehn version but amplifies it with the addition of a second clarinet, assigns the bassoon to double on the contrabassoon (its cavernous low C is an indispensable element in the finale) and, most tellingly, adds a harp part to the ensemble while curtailing the incongruous piano part to the bare essentials. Add to this the outstanding sonic alchemy of the recording team and de Leeuw’s finely balanced direction and the result is a performance that for the first time didn’t leave me feeling short-changed by the reduced ensemble. The stunning interpretation by the French mezzo-soprano Lucile Richardot is notable for its intimacy and finely nuanced word painting while the Belgian tenor Yves Saelens lends an appropriate swagger to his alternating extroverted numbers. In the closing movement of the finale, Der Abschied (The Farewell) de Leeuw provides a touching detail: while the voice gradually recedes into darkness on the word “ewig” (forever) the ensemble maintains an inexorable clockwork indifference, ignoring the indicated diminuendo. The earth alone survives, “the horizon is ever blue…”